VARIETY IS SPICE OF PLAYBOY JAZZ FEST.

Byline: Chris Walker Correspondent

It was the perfect matchup for the 25th installment of the Playboy Jazz Festival - Al Jarreau and Dave Brubeck's quartet doing ``Take Five'' together.

When the silver-maned Brubeck, sporting a dapper beige blazer, announced that Jarreau was joining his group to do probably jazz's most popular song, the audience erupted. That's not an easy feat, since the crowd is typically more interested in chatting while consuming libations and scrumptious morsels, which has become synonymous with the event. But when top-selling pop/jazz vocalist Jarreau zestfully scatted away, he invoked memories of his initial renditions of the tune that propelled him to jazz stardom 25 years ago.

For Brubeck, the grand master of jazz, who originally composed the classic and recorded it in 1959, he cannot ever do a concert and not perform it. In truth, although the singer and pianist are drastically different in style and delivery, they're both forever bound to ``Take Five.''

At the Playboy Jazz Festival, it really all boils down to who can tear the highly socializing audience away from their wine and cheese long enough to get them to pay full attention to a performance. Brubeck and Jarreau, along with alto saxophonist Bobby Militello's soaring solos, certainly accomplished that. During the course of 17 hours of music performed Saturday and Sunday, it didn't happen that often. But when it did, it was undeniable, and the other artist to make a grand impact was in fact the youngest to perform - 13-year-old Renee Olstead. The darling redhead won the Hollywood Bowl's heart and admiration when featured with emcee Bill Cosby's band, the Cos of Good Music VIII.

The hard-swinging all-star ensemble included top veterans saxophonist Pete Christlieb, drummer Ndugu Chancler, vibraphonist Bobby Hutcherson and others along with emerging saxophonist Keschia Potter. Nevertheless, Olstead shined the brightest, despite being in the company of the stellar players, and only did one song. Her opening a cappella verse of ``At Last,'' popularized by Etta James, literally had the Bowl audience in suspended motion. This girl, not even old enough to drive, has a colossal voice. After drawing a standing ovation, without a doubt she'll be back one day to do a full set. Cosby joked as she left that ``since she's only 13, she only knows one song.''

New Orleans-based Los Hombres Calientes, led by percussionist Bill Summers and trumpeter Irvin Mayfield, scored on Sunday with a funk-groove jam that had an irresistible feeling and stood out from an invigorating program that mixed Latin jazz, Caribbean, African and Brazilian rhythms, along with New Orleans down-home soul.

On Saturday, the Blind Boys of Alabama delved into traditional gospel and transported the audience to a Southern gospel church. They went into the surrounding box seats while performing, which further aroused the crowd for an extended vocal foray.

Jazz purists were not left out and experienced palatable sets from several mainstream groups. Grammy-winning bassist Dave Holland's quintet showed that through stellar musicianship and enticing rhythms, audiences would pay attention, while drummer Roy Haynes' adroit quartet did it through song selection, featuring Thelonious Monk and Pat Metheny compositions.

Better-known as a pop/smooth-jazz artist, singer Boz Scaggs presented a relaxing segment of standards Saturday evening, which included a somewhat mellow version of ``Lowdown.'' Promising artistry was displayed in opening sets by the L.A. County High School for the Arts Jazz Ensemble Saturday and the Brubeck Institute Jazz Quintet, with players from several states, on Sunday.

Latin music unquestionably has to be represented and was done so from several aspects. Trumpeter Bobby Rodriguez's Salsa Orchestra, composed of 20 musicians, boldly roared, interspersing big-band and Latin rhythms with homeboy East L.A. pride on Sunday. Alternatively, conga master Poncho Sanchez fused mainstream jazz and r&b into his Latin mix. He featured vocal and saxophone legend James Moody for several numbers.

From a pop standpoint, Brazilian Daniela Mercury performed spirited tunes with rock and techno tinges. Funk, hip-hop, rock en espanol and everything in between came through L.A. favorites Ozomatli.

Funk/pop/smooth-jazz performers rounded out things. Commanding impressive attention was vocalist Lizz Wright, who has a hardy voice but surprisingly focused on low-key material in the early festival hour Saturday. Hiroshima offered funk-based Asian tinged world/contemporary jazz, while saxophonist Boney James, a Bowl favorite, satisfied smooth-jazz buffs with gobs of energy and funk.

Show closers Guitars & Saxes featuring Richard Elliott (sax), Peter White (acoustic guitar), Jeff Golub (electric guitar) and Steve Cole (sax), did not go quietly into the night. They instead did lively numbers that had remaining audience members dancing about while each artist showcased a couple of tunes.